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skootie116

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Everything posted by skootie116

  1. Entrances: Lorre strolls out the elevator playing with his hat and talking to himself. He moves to the door, finds his keys, fits a key to the lock. CUT to other side of door. Lorre’s second entrance: he’s stopped in his tracks. Greenstreet is already in situ, master of the place. He appears in a doorframe at the other end of the room blocking out Lorre’s reflection in the bathroom mirror behind him and continues toward Lorre at a steady pace, pistol held lightly (with serious intent?). Lighting: The lighting is motivated by set prop lighting fixtures to the side and somewhat behi
  2. We know he is Philip Marlowe because he introduces himself as such at the door, and the butler then addresses him as Mr. Marlowe. He is not overawed by the obvious luxury of the house, despite the fact that the high-soaring vertical lines dwarf his body. The ceiling is too tall to be included in the shot, but a very large, probably priceless, crystal chandelier dips in at the top of the frame. Nor is he thrown off by the lubricious taunts of the girl, but willing to play along up to a point. He keeps his balance and doesn’t humiliate her. In sum: Marlowe does not lose his cool easily
  3. Hi. Dialogue isn't always a good indicator in revealing character. People lie, to each other and to themselves. Better to watch what they do or say when they're off guard, perhaps in the heat of the moment. Look for motivation: what do they want, how do they go about getting it? The fact that they lie tells us something useful.
  4. I can't just click "Like"and leave. I want to say that I was moved by the clarity and humanity of your vision and your ability to write it. Thank you very much.
  5. Yes, leaving the class might serve you well. We're happy here and are not impressed by naysayers. Bye-bye.
  6. It was my impression that "Border Incident" was among the films that contributed to the classic noir, but not shot in that style.
  7. DDD #10 The Killers First section, in diner, plays subtle games with perspective. Angles keep one slightly off balance. High contrast. Deep blacks. Verticals sometimes aligned with frame, sometimes not. This is Expressionism gone subtle and noir. Front section of diner - Coffered ceiling included in shot and curved counter make the composition dynamic, unsettling. Hot down lights part of set design. Two eyelines against one -threatening. Only after baddies leave and door shuts is there music: a short, percussive phrase repeated progressively louder and faster. Backroom/kitchen
  8. Posted Today, 08:58 AM celmaib Posted a photo of the the Diner EXT. NIGHT I think you'll see that this is not shot on location, but in a sound stage where everything could be fully designed and controlled. It's realism but not real.
  9. Interesting how everything changes with only editing and sound. Of course you're aware that Vidor had other objectives in mind when he made the choices he did.
  10. DDD #9 Gilda Comparison of (1) “Amado Mio” and (2) "Put the Blame…”: (1) Romantic, not sexy, music. It is pleasant, rhythmic. Liight-colored beautifully designed dress, beautiful rather than glamorous. The midriff is exposed, but not the breasts; the skirt is split up the calf and thigh, but never used to titillate. Gilda seems to take pleasure in performing, sharing her physical, dancing and vocal gifts with the audience. She remains in her own sphere keeps the audience at an aesthetic distance, except when she glances at her fiancé. They are free to enjoy, not pressed to participa
  11. It feels like a night scene but is not. Both women are dressed in what appears to be deep black. Their silhouettes are stark, sharply cut. The scene is about power. We start with a CU of Veda, shot at a slant from above, then tilt up to a 2-shot with mother and daughter seemingly warring with the stark contrast of positions, Mildred tightly upright occupying 1/3 of the shot while Veda lolls on the couch, but somehow she seems more powerful than Veda. Mildred’s body is smaller in scale than is Veda’s. The actors are very carefully blocked, moving in and out of position in the first, long
  12. Even before the film proper begins, there is the clock. It fills the screen behind the text of the title sequence. The music has a slow, ponderous tempo, set down by the tympani, that matches the pendulum swings even as the other instruments perform tension-building runs and builds and crescendos above it. The music is in a minor key and never resolves, but cross-fades with the ticks of the clock until they are all that is left. I’m already feeling the danger and am vigilant. The camera moves sideways away from clock revealing a barred window behind which is an obviously painted exterio
  13. One of the requirements of Melodrama is that the characters are reliably good or bad. Such is not the case in Film Noir.
  14. The Pinkertons often acted as hired thugs - in union breaking particularly. They don't, to my mind, really compare to P.I.s They were employees of a profit-making business with no particular principals. They did what they were told to and got paid.
  15. 9 June 2015 DDD # 6 Farewell My Lovely He seems to be a person fueled by a desire to behave ethically, to put wrongs right, within a world which sets ethical questions aside in favor of the pursuit of money/power/safety. He is not naïve. He seems to be made up of equal parts bitter cynicism and a passion for honor and justice, private matters that may not involve the police or the judiciary. The moment he knows she is lying, he is cloaked in hardness and disdain. He only softens slightly when she begins to tell the truth and the atmosphere between them warms. He is in this
  16. The voiceover is way too writerly and hyberbolical. a very economical way to introduce us to Waldo Lydecker, epicene poseur. Two days after the event Waldo is turning Laura’s murder into a romance, with him at its center. We open in a large room filled with beautiful and exquisite, things. As we dolly the length of the room, we pass vitrines full of precious objects, sculpture, all surfaces and wall spaces covered with treasure. When Andrews is discovered, he looks at first like another object, then like a man who doesn’t belong here. He looks over the room, there is an oil portrait of
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